Some twenty ivory stringed instruments preserved in three main collections and corresponding to an instrumentarium in use at the end of the Middle Ages and the beginning of the Renaissance form a very homogeneous group. These instruments seem to have been made by the same workshop at the very end of the nineteenth century. Are they attempts of reconstruction or counterfeits?
{"title":"A Nineteenth-Century Italian Workshop of Neo-Late Medieval and Renaissance Ivory Instruments","authors":"Florence Gétreau","doi":"10.3986/dmd19.2.04","DOIUrl":"https://doi.org/10.3986/dmd19.2.04","url":null,"abstract":"Some twenty ivory stringed instruments preserved in three main collections and corresponding to an instrumentarium in use at the end of the Middle Ages and the beginning of the Renaissance form a very homogeneous group. These instruments seem to have been made by the same workshop at the very end of the nineteenth century. Are they attempts of reconstruction or counterfeits?","PeriodicalId":38033,"journal":{"name":"De Musica Disserenda","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-01-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139596760","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Some pieces included by François-Joseph Fétis in his concerts historiques are now known to be “historical fakes”, which he composed himself and attributed to Emilio de’ Cavalieri, Heinrich Schütz, Alessandro Stradella and others. He even provided a spoof entry for his invented composer Jean Strobach in his Biographie universelle des musiciens. This paper traces the history of historical musical fakes from Fétis to Winfried Michel, arguing that they are uncovered because they go out of date like other cultural artefacts.
弗朗索瓦-约瑟夫-费蒂斯（François-Joseph Fétis）在其《历史音乐会》中收录的一些乐曲现在被认为是 "历史赝品"，这些乐曲是他自己创作的，却被认为是埃米利奥-德-卡瓦列里（Emilio de' Cavalieri）、海因里希-舒兹（Heinrich Schütz）、亚历山德罗-斯特拉德拉（Alessandro Stradella）等人的作品。他甚至在《世界音乐家传记》中恶搞地记载了他编造的作曲家让-斯特罗巴赫（Jean Strobach）。本文追溯了从费蒂斯到温弗里德-米歇尔的历史音乐赝品的历史，认为这些赝品之所以被发现，是因为它们像其他文物一样会过时。
{"title":"The Strobach Syndrome: François-Joseph Fétis, Historical Fakes and the Early Music Revival","authors":"Peter Holman","doi":"10.3986/dmd19.2.01","DOIUrl":"https://doi.org/10.3986/dmd19.2.01","url":null,"abstract":"Some pieces included by François-Joseph Fétis in his concerts historiques are now known to be “historical fakes”, which he composed himself and attributed to Emilio de’ Cavalieri, Heinrich Schütz, Alessandro Stradella and others. He even provided a spoof entry for his invented composer Jean Strobach in his Biographie universelle des musiciens. This paper traces the history of historical musical fakes from Fétis to Winfried Michel, arguing that they are uncovered because they go out of date like other cultural artefacts.","PeriodicalId":38033,"journal":{"name":"De Musica Disserenda","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-01-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139597653","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Hungarian choreographer László Seregi created a ballet based on William Shakespeare’s The Taming of the Shrew in 1994. He and his musician colleagues used excerpts from eleven orchestral pieces by Carl Goldmark, cut and pasted together to fit perfectly the play as told through dance. I argue that although the ballet score does not convey the composer’s original intentions, its authenticity as a successful theatrical piece is unquestionable.
{"title":"Programmatic Pieces Turned into a Ballet Score: The Music for the Ballet The Taming of the Shrew Choreoggraphed by László Seregi","authors":"Júlia Fedoszov","doi":"10.3986/dmd19.2.09","DOIUrl":"https://doi.org/10.3986/dmd19.2.09","url":null,"abstract":"The Hungarian choreographer László Seregi created a ballet based on William Shakespeare’s The Taming of the Shrew in 1994. He and his musician colleagues used excerpts from eleven orchestral pieces by Carl Goldmark, cut and pasted together to fit perfectly the play as told through dance. I argue that although the ballet score does not convey the composer’s original intentions, its authenticity as a successful theatrical piece is unquestionable.","PeriodicalId":38033,"journal":{"name":"De Musica Disserenda","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-01-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139597886","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In August 1840 a letter published in The Musical World announced the discovery of “four large iron chests filled with music-books”, some of great rarity, which have never been recovered. The truth is that the announcement is a hoax. But who perpetrated it? This essay sifts the evidence and attempts to solve the mystery.
{"title":"Investigating the Shipton Hoard","authors":"Iain Fenlon","doi":"10.3986/dmd19.2.02","DOIUrl":"https://doi.org/10.3986/dmd19.2.02","url":null,"abstract":"In August 1840 a letter published in The Musical World announced the discovery of “four large iron chests filled with music-books”, some of great rarity, which have never been recovered. The truth is that the announcement is a hoax. But who perpetrated it? This essay sifts the evidence and attempts to solve the mystery.","PeriodicalId":38033,"journal":{"name":"De Musica Disserenda","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-01-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139595835","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Through the recent identification of the model for a contrafactum, a composition by Domenico Micheli dedicated to Tarquinia Molza has been discovered. This has turned out to be of earlier date than those dedicated to her by other composers. The incompletely preserved madrigal can be partially reconstructed with the aid of the parts belonging to the contrafactum and opens up new research perspectives on Molza and Micheli as well as on the process of retextualization carried out by Geronimo Cavaglieri, author of the new text.
{"title":"Music for Tarquinia Molza Rediscovered: Cantate o nove alme/Mater misericordiae by Domenico Micheli/Geronimo Cavaglieri","authors":"Gabriele Taschetti","doi":"10.3986/dmd19.2.08","DOIUrl":"https://doi.org/10.3986/dmd19.2.08","url":null,"abstract":"Through the recent identification of the model for a contrafactum, a composition by Domenico Micheli dedicated to Tarquinia Molza has been discovered. This has turned out to be of earlier date than those dedicated to her by other composers. The incompletely preserved madrigal can be partially reconstructed with the aid of the parts belonging to the contrafactum and opens up new research perspectives on Molza and Micheli as well as on the process of retextualization carried out by Geronimo Cavaglieri, author of the new text.","PeriodicalId":38033,"journal":{"name":"De Musica Disserenda","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-01-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139598752","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The so called Wurstisen Lute Book (CH-Bu, Ms. F.IX.70) is a remarkable anthology containing a huge repertory that was written down in German lute tablature at the end of the sixteenth century. Serving most likely as a private music collection, it relatively infrequently contains names or indications of authors. The present article deals with what the scribe has left in the way of indications, shedding more light on, and interpreting, some of them. Additionally, the research suggests some sources that may have been at the disposal of the compiler, Emanuel Wurstisen, or were possibly related to his book when they came to be printed years later.
{"title":"Authorship and Attribution in the Wurstisen Lute Book","authors":"Yavor Genov","doi":"10.3986/dmd19.2.10","DOIUrl":"https://doi.org/10.3986/dmd19.2.10","url":null,"abstract":"The so called Wurstisen Lute Book (CH-Bu, Ms. F.IX.70) is a remarkable anthology containing a huge repertory that was written down in German lute tablature at the end of the sixteenth century. Serving most likely as a private music collection, it relatively infrequently contains names or indications of authors. The present article deals with what the scribe has left in the way of indications, shedding more light on, and interpreting, some of them. Additionally, the research suggests some sources that may have been at the disposal of the compiler, Emanuel Wurstisen, or were possibly related to his book when they came to be printed years later.","PeriodicalId":38033,"journal":{"name":"De Musica Disserenda","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-01-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139596643","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
One manuscript of an oratorio in I-Mc dating from 1784 is described, on its title page, as a pasticcio by “celebrated Neapolitan maestri”. I suggest that the source is actually a forgery and linked to three non-Neapolitan composers. The inference is that it was associ- ated with Naples purely for marketing reasons.
{"title":"Profectio Moysis in Aegyptum (1784): A “Fake” Neapolitan Oratorio?","authors":"Eric Boaro","doi":"10.3986/dmd19.2.03","DOIUrl":"https://doi.org/10.3986/dmd19.2.03","url":null,"abstract":"One manuscript of an oratorio in I-Mc dating from 1784 is described, on its title page, as a pasticcio by “celebrated Neapolitan maestri”. I suggest that the source is actually a forgery and linked to three non-Neapolitan composers. The inference is that it was associ- ated with Naples purely for marketing reasons.","PeriodicalId":38033,"journal":{"name":"De Musica Disserenda","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-01-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139596568","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Some would argue that the idea we get of a composer by listening to his incomplete music in which a voice has been reconstructed is not “authentic”. But the idea we can get of him by ignoring his incomplete compositions altogether, as if they never existed, is much less “authentic”. The article examines the issue and validity of the reconstruction of polyphonic music with one or more missing parts in critical editions from a philosophical, philological and practical point of view and establishes some criteria for the acceptability of the results.
{"title":"The “Authenticity” of the Reconstruction of Missing Parts? Some Reflections on a Misplaced Problem","authors":"Marina Toffetti","doi":"10.3986/dmd19.2.07","DOIUrl":"https://doi.org/10.3986/dmd19.2.07","url":null,"abstract":"Some would argue that the idea we get of a composer by listening to his incomplete music in which a voice has been reconstructed is not “authentic”. But the idea we can get of him by ignoring his incomplete compositions altogether, as if they never existed, is much less “authentic”. The article examines the issue and validity of the reconstruction of polyphonic music with one or more missing parts in critical editions from a philosophical, philological and practical point of view and establishes some criteria for the acceptability of the results.","PeriodicalId":38033,"journal":{"name":"De Musica Disserenda","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-01-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139597285","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Debussy’s ballet for children La Boîte à joujoux (1913) contains a fake “Old Hindu chant”. But the comic fakery seems to provide the key to understanding the deep meaning of the ballet, in which Debussy strives to rejuvenate and revitalize Western music by referring to the so-called spontaneity of both childhood and foreign traditions, for the sake of recovered authenticity.
德彪西为儿童创作的芭蕾舞剧《嬉游曲》（La Boîte à joujoux，1913 年）中有一段假的 "古印度圣歌"。在这部芭蕾舞剧中，德彪西为了恢复音乐的原貌，借鉴了童年和外国传统音乐的所谓自发性，努力使西方音乐焕发青春和活力。
{"title":"Debussy’s Old Hindu Chant (La Boîte à joujoux): Exotic Humorous Fakery and Rejuvenation of Music","authors":"Benjamin Lassauzet","doi":"10.3986/dmd19.2.11","DOIUrl":"https://doi.org/10.3986/dmd19.2.11","url":null,"abstract":"Debussy’s ballet for children La Boîte à joujoux (1913) contains a fake “Old Hindu chant”. But the comic fakery seems to provide the key to understanding the deep meaning of the ballet, in which Debussy strives to rejuvenate and revitalize Western music by referring to the so-called spontaneity of both childhood and foreign traditions, for the sake of recovered authenticity.","PeriodicalId":38033,"journal":{"name":"De Musica Disserenda","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-01-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139596014","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Museum collection of the Staatliches Institut für Musikforschung in Berlin houses a pandurina built by Giovanni Smorsone. However, this instrument came to the museum from within the circle of a violin forger. Investigations have proved that it is not a forgery. Nevertheless, alterations were found that do not match the original state of the instrument.
{"title":"Original, Fake, or a Little of Both? On the Question of the Authenticity of a Pandurina by Giovanni Smorsone","authors":"Heidi Von Rüden","doi":"10.3986/dmd19.2.05","DOIUrl":"https://doi.org/10.3986/dmd19.2.05","url":null,"abstract":"The Museum collection of the Staatliches Institut für Musikforschung in Berlin houses a pandurina built by Giovanni Smorsone. However, this instrument came to the museum from within the circle of a violin forger. Investigations have proved that it is not a forgery. Nevertheless, alterations were found that do not match the original state of the instrument.","PeriodicalId":38033,"journal":{"name":"De Musica Disserenda","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-01-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139597637","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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